hansdewolff This movie was a big surprise! The premise is very original and the script, the direction and the overall acting is actually very good.It's about two couples. There's this vagabond and petty-criminal couple that all of a sudden is confronted with an unwanted pregnancy and come up with the plan to make some money out of it by offering to sell the baby to as much high bidders as possible, with the obvious intention to cheat them all by running off with the down payments. And then there's this counterpart couple, very well to do yuppies that are desperately in need of a baby and are ready to do anything to get it. Both couples meet, and what starts off as a friendly and business-like confrontation eventually deteriorates into a psychological and physical battle to the death. The story is hung up on an afterwards "confession" that the woman of the first couple does to a stranger (Peter) who picks her up at the start of the movie as she is seen hitch-hiking along a deserted road in the middle of nowhere. She tells him her side of the gruesome story (which we see illustrated in flashbacks) and he comments on it in a more or less moralistic and stern, but on the other hand open-minded way, by which she is forced to reflect on her own deeds. Hence of course the title "Hindsight". After the movie I was a bit puzzled by this chosen form. What did they mean by it? A sort of catharsis for this woman? A moral judgment? Problem was, that the woman could hardly have survived the deadly attack on her that we witnessed in the last flashback. So how come we see her walking safe and sound along the road? Well, I like to see myself as an intelligent and experienced movie-watcher, but I had to read some of the comments here on IMDb to see the light: the woman was already dead and while she was on her desolate way to afterlife she was picked-up by Peter (!) who gave her the opportunity to relief herself of the burden of her bad deeds and choices. Wow, I felt so dumb and instantly I liked this movie even better for this very subtle twist! The movie is made with an obvious low budget, with only four actors (five, if you count the Peter character in), and most of the action takes place within the confinement of the second couple's house in the period of one and the same evening, so it's more or less like you're witnessing a theatre play. This feeling is enhanced by the sparkling and very clever dialogues between both couples. I was impressed by all actors. Leonor Varela is stunningly beautiful but at the same time a solid actress with perfect timing and a great feeling for subtle comedy. Jeffrey Donovan was very convincing as the young yuppie: self-assured and condescending, protective of his wife and wealth and ruthless when things got out of hand. Waylon Payne was equally convincing as the slightly psychopathic con-man, charming and full of bravado but also dangerously impulsive and rough. About Miranda Bailey much has been said in the comments here, and I can understand the reservations: she is not a beauty and her role is the least sympathetic of all, so as an audience it's almost impossible to relate to her and her motives. But in my opinion she played her character very well: in her "hindsight"-dialogues she's the unappealing, street-wise and cocky white-trash bimbo who doesn't give a damn, yet her self-reflections on the comments of Peter impress as genuinely sincere. And when, at the start of their meeting with the other couple, she tries to win them over with a performance of a sweet mother-to-be, she's equally convincing; and likewise when she later on in the movie is under heavy attack and has to fear for her life, so to me it proves that she's a great actress too. My only little and rather practical piece of criticism as to the script is: how come that the yuppie-couple didn't have or use a cell-phone?!? They are so well-to-do and modern, that it's totally unbelievable that at least the guy wouldn't have walked around with a cell in his pocket, so that they could have sent for help. Anyway, this movie gives a very convincing and in many ways disconcerting image of four intelligent people who try to act as if they care for each other, but in the end let themselves only be guided by greed, suspicion and selfishness. And don't bother too much with the moralistic setting, if that's not your cup of thee, just see it as an interesting extra, that at least is equally clever done as the rest of the movie. I rank it 9 out of 10.

Megan De Leon Paul Holahan's HINDSIGHT has a unique premise presenting us with the theme of being blinded by one's hidden agendas. When Dina and her boyfriend, Ron decide to sell their unexpected baby to desperate Maria and her husband, Paul, all four of them allow their wants to take over them and lead them to an unethical dark side in themselves. The film had a chance to be a thriller with substance, rather it showcased its theme repeatedly giving the thrilling moments less sting so tonally the film bordered on drama. Cutting back to Dina in the present, her narration and freeze frames made the situations at hand less frightening and less significant. Peter, the driver that picks Dina up in the beginning, states the theme through dialog even though the action in the past works as subtext to show us what the theme is. Further, Dina speaks so casually when she narrates and no one screams when they are victimized (except for when Maria and Paul argue over cutting Dina's belly open). It seems as if the musical cues that lead up to these big moments (like when Paul first attacks Ron) lead up to nothing because the tension is lost when important events happen. After Paul attacks Ron, there is a cut back to the present in which Peter tells Dina she thinks nothing is her fault. Then Dina repeats that statement by narrating that we probably think this is her fault. The attack on Ron should have been the turning point in which everyone turns against each other, but it is downplayed. Foreshadowing should cause tension in a thriller, but foreshadowing is lost when Dina says what is going to happen next. There is good parallel action placing Dina and Ronnie versus Maria and Paul and there is a good arch for each of the characters in which they change when their sight is narrowed in on their desires. The most exciting scene is when Paul taunts Maria to cut open Dina's belly. It put everyone against each other singularly and it revealed character, especially Maria's, using a kind of suspense where one must look away. It then gave reason for Maria's character to choose to do what she did at the end. It is well-written, but the form of the film takes away from the story. The film has depth and is intelligent unlike many thrillers, but the thrill is lost.

mary_prelle I watched this movie and totally enjoyed the premise. I have not seen to many movies about pregnant women fighting off the would be baby snatcher. But I was left hanging at the end. No way she could have survived this onslaught to her body without immediate medical help. So flash to what is happening between her and the old guy in car. He picks her up and the story is told to him. He advises her and gives her some guidance as to rationale of both sides involved etc. We never know who he is or where he is taking her. Could the reality of the film be that he is a spiritual envoy taking her soul somewhere because she in actuality died? This is just a thought because otherwise how the heck did she get out of that situation alive. I really deplore movies that have no ending explanation.

brayneded31 This film has very well-written script. The characters are nicely-paralleled, simultaneously mirroring one another in their fundamental psychological struggles and diverging in their drives, desires, and ideals. The whole storyline is a psychotic eruption of social inadequacies combined with the ever-present question of whether or not our actions are to be judged by an absolute morality.With regards to character development, the script may have been better carried by stronger acting -- the internal development was present, but was not sufficiently layered within the characters.Overall, the film is sufficiently suspenseful to hold the attention of the audience.